Black Sabbath's Album-Wide Doom Defined Heavy Metal's Origin

Tetragrammaton with Rick Rubin · December 31, 2025 · Listen to Original Episode →

Original Title:

TL;DR

Black Sabbath's consistent embrace of a dark, doomy vibe across entire albums, rather than isolated songs, solidified their sound as the definitive origin of heavy metal.
Early psychedelic bands like High Tide demonstrated heavy, dirge-like qualities before Black Sabbath, indicating that the seeds of heavy metal were sown in the late 1960s.
The power chord, exemplified by The Kinks' "You Really Got Me," provided a foundational heavy riff that could be adapted to create darker, more aggressive sounds.
Thin Lizzy's dual guitar harmonies and solos pioneered a sound that directly influenced later bands like Judas Priest and Iron Maiden, shaping the melodic and technical aspects of metal.
The visual aesthetic of metal, including spikes and black leather, emerged from bands like Kiss and Judas Priest, drawing inspiration from BDSM imagery and theatricality.
Venom's "Black Metal" song and raw, aggressive sound directly influenced early thrash bands like Slayer, establishing a blueprint for extreme metal's speed and intensity.
Dave Lombardo's drumming in Slayer, characterized by its consistent groove and swing even at high speeds, differentiated the band and provided a unique energetic feel.

Deep Dive

The evolution of heavy metal music is not a linear progression but a complex branching tree, where foundational elements like the power chord and distorted guitar tones were progressively amplified and recontextualized. This journey from early rock experimentation to the diverse subgenres of metal reveals how specific sonic innovations and thematic approaches, often sparked by a single riff or lyrical idea, have profoundly shaped artistic expression and fan identity. The core of metal's enduring appeal lies in its capacity to embrace aggression, darkness, and theatricality, creating a powerful emotional connection that continues to evolve.

The genesis of heavy metal can be traced back to the 1960s, with bands like The Kinks, The Who, and even The Beatles introducing heavier sounds and darker moods. These early explorations, often rooted in psychedelic rock, laid the groundwork for what would become definitive metal characteristics. However, it was Black Sabbath, with their distinctively doom-laden riffs, dark lyrical themes, and consistent embodiment of a heavy sound across entire albums, who are widely considered the true originators of the genre. This shift from isolated heavy moments to a sustained sonic identity marked a crucial turning point, demonstrating how a band's core sound could define an entire genre. The influence of these early pioneers extended beyond their immediate contemporaries, sparking a chain reaction where subsequent generations of musicians built upon their innovations. For instance, the dual guitar harmonies pioneered by Thin Lizzy became a hallmark of bands like Judas Priest and Iron Maiden, while the raw aggression and speed of bands like Motörhead and Venom directly informed the development of thrash metal. This iterative process of influence and adaptation is evident in the way bands like Metallica fused the drive of Motörhead with more complex metal riffs, and how Slayer incorporated the ferocity of Venom with the technical drumming of Dave Lombardo, whose "groovy" yet aggressive style set them apart.

Beyond sonic evolution, heavy metal's identity has been deeply intertwined with its visual and thematic presentation, often embracing a provocative "satanic kayfabe" that blurs the lines between performance and perceived reality. Bands like Kiss and Judas Priest, with their distinctive imagery of spikes, leather, and theatrical personas, cultivated a visual language that became synonymous with the genre, influencing subsequent acts like Iron Maiden with their mascot Eddie. This theatrical element, particularly the embrace of the dark or taboo, resonated with audiences, offering a sense of rebellion and catharsis. The perceived danger and mystique surrounding these bands, amplified by the lack of constant media access in the pre-internet era, allowed for a potent fantasy element that appealed to fans. This theatricality, while sometimes bordering on parody as seen with King Diamond's operatic and visually striking style, ultimately contributed to the genre's unique cultural footprint. The deliberate cultivation of themes like devil worship, even if performative, became a powerful tool for engagement, creating a distinct subculture where artistic expression pushed boundaries and challenged societal norms.

The fragmentation and diversification of heavy metal in the late 70s and 80s demonstrate its ability to absorb influences and splinter into numerous subgenres. While bands like Iron Maiden and Judas Priest achieved mainstream success on major labels, a burgeoning underground scene thrived on independent labels, drawing inspiration from punk rock's DIY ethos and intensity. This led to the emergence of subgenres like thrash metal, characterized by its speed and aggression, and doom metal, which deliberately slowed down to capture a heavier, more atmospheric sound. Bands like Discharge, while not strictly metal, significantly influenced the intensity and speed of thrash. This constant reinterpretation and fusion of styles, from the proto-thrash of Discharge to the neo-classical shredding of guitarists like Randy Rhoads and Eddie Van Halen, illustrate metal's dynamic nature. Ultimately, the enduring power of heavy metal lies in its consistent exploration of extreme sounds and themes, fostering a dedicated community that actively engages with its evolving landscape.

Action Items

Analyze 5-10 foundational riffs (e.g., "You Really Got Me," "Black Sabbath") to identify core sonic elements that defined early heavy metal.
Create a comparative chart of 3-5 early metal bands (e.g., Black Sabbath, Deep Purple, Led Zeppelin) to map their distinct contributions to the genre's evolution.
Document the influence of 2-3 non-metal genres (e.g., psychedelic rock, blues, punk) on specific metal subgenres, citing 3-5 example songs.
Track the emergence of key instrumental techniques (e.g., double bass drumming, dual guitar solos) across 5-7 influential bands to understand their impact on metal's progression.
Evaluate the role of lyrical themes and imagery (e.g., darkness, rebellion, occult) in shaping 3-5 distinct metal subgenres.

Key Quotes

"you had the 60s bands dude even you can say the beatles in um the song called i want you the end of that song where it gets all doomy and it's like dirge it's it's metal it it it it gives you the feeling of what black sabbath gives you without necessarily the same guitar tones or whatever but the sound the music the darkness so there were things that were happening before black sabbath before deep purple before led zeppelin"

The author, Daron Malakian, argues that elements of what would become heavy metal existed in music prior to the commonly recognized pioneers like Black Sabbath. He points to the Beatles' song "I Want You" as an example of a "doomy" and "dark" sound that foreshadowed the mood of Black Sabbath, even without the same sonic textures. This suggests a gradual evolution of heavy music rather than a sudden creation.

"sabbath brought the doom also lyrical the lyrics yeah sabbath the trip was dark the name of the band is black sabbath just they they brought in a feeling a vibe that to me was the sound of heavy metal the blues and the jazz was still there but that came in between the heavy riffs and the riffs with sabbath weren't like for example we mentioned the band high tide but probably if you listen to the rest of their songs that was probably the only song that was heavy sabbath had the whole album was that vibe and then the next album was that vibe and the next album and it just you know that vibe continued it became a character of the sound of sabbath"

Daron Malakian highlights Black Sabbath's pivotal role in defining the sound of heavy metal by consistently incorporating a dark, doomy vibe across entire albums. He contrasts this with bands like High Tide, where such heaviness might have been confined to a single song. Malakian emphasizes that Sabbath's sustained atmospheric approach, distinct from blues or jazz influences, established a core characteristic of the genre.

"the name heavy metal came from the steppenwolf song or heavy metal thunder just kind you know rock and roll came from like rock around the clock and there were a bunch of songs at one point in the late 40s early 50s that started using the word rock and that became the reason why people called it rock and roll and i would say even with other genres as we'll get into as we're going we're kind of named by songs or bands like death metal black metal all these kinds of things"

Daron Malakian explains that the naming conventions for music genres, including heavy metal, often originate from specific songs or bands. He draws a parallel between how "rock and roll" emerged from songs using the word "rock" and how "heavy metal" likely gained its name from the Steppenwolf song "Heavy Metal Thunder." Malakian suggests this pattern of song-based nomenclature extends to subgenres like death metal and black metal.

"there's an emotion that heavy metal gives you which is that fist in the air makes your face change into a mean grim face it does to me at least i can't help myself sometimes crush one by one to the ground hell bent hell bent for leather hell bent hell bent for leather"

Daron Malakian describes the visceral emotional response that heavy metal music elicits, characterized by a physical reaction like raising a fist or adopting an aggressive facial expression. He uses the Judas Priest song "Hell Bent for Leather" as an example of music that provokes this intense, almost involuntary, feeling. Malakian suggests this emotional impact is a defining characteristic of the heavy metal experience.

"ozzy's voice maybe is the archetype heavy metal voice yeah the thing is nobody else sounded like him it's just the aggression i think other people came and did aggression in their own style but i mean you have to yeah of course it has to be the starting point and i can get's more and now here it turns into i mean my band does stuff like that"

Daron Malakian identifies Ozzy Osbourne's vocal style as archetypal for heavy metal due to its unique aggression, even while acknowledging that other singers have developed their own distinct approaches. He posits that Osbourne's sound serves as a foundational element for the genre's vocal expression. Malakian also notes that his own band incorporates similar vocal characteristics.

"but i was just really really into this shit like to the point where my mom should have maybe been concerned you know but i was just really really into this shit and so we're also getting to the point where people are starting to accuse these bands of being devil worshippers oh yeah which was also something that was appealing to me as a five year old but i'm sure as like kids that were 10 11 12 13 14 whatever i'm sure that was also something that was appealing"

Daron Malakian reflects on his intense childhood fascination with heavy metal, even at a young age, and how the controversial "devil worshipper" accusations surrounding bands appealed to him. He suggests this taboo element was attractive not only to him but also to older children. Malakian implies that the perceived danger and forbidden nature of the music added to its allure for young fans.

"the fantasy aspect of it appealed to you it did it's almost like they're cartoon characters yeah yeah like i imagined what they were like like this person is really like this all the time you know or is this i never even thought about like oh they're not like this it was i was very young so in my head they were fucking cartoon i was still watching cartoons at this time of my life you know i would take my mom to the record store and the bands start playing into the satanic thing and um iron maiden had eddie you know the mascot and it was always like these evil album covers"

Daron Malakian explains that the theatrical and fantastical elements of heavy metal bands, particularly their imagery and personas, appealed to him as a child by making them seem like "cartoon characters." He describes imagining these artists as living their stage personas constantly, a perception amplified by iconic mascots like Iron Maiden's Eddie and "evil album covers." Malakian suggests this fantasy aspect was a significant draw for young fans.

"but the riffs are not bluesy at all and there's nothing about the groove that's bluesy it's very uh germanic germanic yeah i'm playing this era of iron maiden because this was very this was their beginning this is the dirtier version of iron maiden still late '70s uh this starts getting into the early '80s here's another song from iron maiden called phantom of the opera this is the album before killers this is the first iron maiden record self titled"

Daron Malakian characterizes early Iron Maiden's music, specifically from their debut album, as distinctly non-bluesy and "Germanic" in its groove and riffs, contrasting it with the blues-influenced sounds of earlier rock. He highlights the raw, "dirtier" version of the band from this period, noting its significant influence. Malak

Resources

External Resources

Books

"You Really Got Me" by The Kinks - Mentioned as an early example of a heavy riff that foreshadowed heavy metal.
"Black Sabbath" by Black Sabbath - Mentioned as a pivotal song that defined the sound of heavy metal.
"Symptom of the Universe" by Black Sabbath - Mentioned as an aggressive riff that foreshadowed mosh pits and headbanging.
"Fireball" by Deep Purple - Mentioned for its double bass drumming, which became a feature in later heavy metal.
"Hell Bent for Leather" by Judas Priest - Mentioned as an example of the imagery and sound of the New Wave of British Heavy Metal.
"Speak of the Devil" by Ozzy Osbourne - Mentioned for its album cover, which contributed to the perception of Ozzy Osbourne as a devil worshipper.
"Kill 'Em All" by Metallica - Mentioned as an example of the increasing aggression and speed in metal during the mid-80s.
"Master of Puppets" by Metallica - Mentioned as an example of the increasing aggression and speed in metal during the mid-80s.
"Show No Mercy" by Slayer - Mentioned as an example of the increasing aggression and speed in metal during the mid-80s.
"Hell Awaits" by Slayer - Mentioned as an example of the increasing aggression and speed in metal during the mid-80s.
"Reign in Blood" by Slayer - Mentioned as an example of the increasing aggression and speed in metal during the mid-80s.
"Demon's Gate" by Candlemass - Mentioned as an example of doom metal that slowed down while other bands were speeding up.
"Trouble" by Trouble - Mentioned for its early doom elements.
"Shout at the Devil" by Mötley Crüe - Mentioned for its heavy riffs and satanic imagery.
"Drunk With Power" by Discharge - Mentioned as a precursor to thrash music due to its heavy and assaultive sound.
"Black Metal" by Venom - Mentioned as a song that named the genre of black metal and influenced early thrash bands.
"Motorbreath" by Metallica - Mentioned as an example of early Metallica's sound, influenced by Motörhead.
"Them" by King Diamond - Mentioned as a solo album by King Diamond, released in 1988.
"Metal Church" by Metal Church - Mentioned as a relevant band during the mid-80s that showed Black Sabbath influence.

Articles & Papers

"I Wanna Judge Your Politics" by Cream - Mentioned as a dark, heavy metal blues song.

People

Ian Gillan - Mentioned as a potential vocal influence on King Diamond.
Dio - Mentioned as a potential vocal influence on King Diamond.
Randy Rhoads - Mentioned for his guitar playing on Ozzy Osbourne's solo work and as an influential guitarist.
Eddie Van Halen - Mentioned for popularizing guitar tapping.
Ingve Moen - Mentioned as an influential heavy metal guitarist.
Jimmy Page - Mentioned as an influential guitarist rooted in blues.
John Bonham - Mentioned as an influential drummer.
Keith Moon - Mentioned as an influential drummer.
Dave Lombardo - Mentioned for his drumming in Slayer, noting his ability to maintain groove at high speeds.
Paul Di'Anno - Mentioned as the first singer for Iron Maiden, singing on the first two albums.
Bruce Dickinson - Mentioned as a singer for Iron Maiden.
Steve Harris - Mentioned as the bassist and main writer for Iron Maiden.
King Diamond - Mentioned for his unique vocal style and theatrical approach in Mercyful Fate and his solo career.
Tom G. Warrior - Mentioned as the brother of Slayer's guitar tech, who influenced Slayer's early vocal style.

Organizations & Institutions

The Kinks - Mentioned for the heavy riff in "You Really Got Me."
Led Zeppelin - Mentioned as an example of a band with heavy and folky songs, and as a precursor to heavy metal.
Black Sabbath - Mentioned as a definitive band in the origin of heavy metal, bringing doom and lyrical darkness.
Deep Purple - Mentioned as a band from the early 70s with a heavy sound.
High Tide - Mentioned as a British band from the late 60s psychedelic era that was heavy.
Cream - Mentioned for a dark, heavy metal blues song.
The Who - Mentioned as an example of a band with massive sound and stage presence in the 60s.
The Beatles - Mentioned for the doomy end of their song "I Want You."
The Scorpions - Mentioned as a German band with heavy album covers and a changing sound into the 80s.
Judas Priest - Mentioned as a band that helped define the look of metal with spikes and leather, and as part of the New Wave of British Heavy Metal.
Kiss - Mentioned for pioneering the look of metal with makeup and theatricality, and for their satanic imagery.
Iron Maiden - Mentioned as a key band in the New Wave of British Heavy Metal, known for their gallop rhythm and dual guitars.
Metallica - Mentioned as a band that fused punk intensity with metal riffs and drive, and as influential in thrash.
Slayer - Mentioned as a band that pushed aggression and speed in metal, influenced by Venom and punk.
Motörhead - Mentioned as a band in a class by themselves, aggressive and fast, influencing both punk and metal.
Diamond Head - Mentioned as a band that influenced Metallica, known for the song "Am I Evil."
Holocaust - Mentioned as a band from the early 80s that influenced heavier bands to come.
Mercyful Fate - Mentioned as a Danish band with a raw sound and theatrical vocals, influential in early black metal.
King Diamond (solo) - Mentioned for his theatrical solo career and the album "Them."
Metal Church - Mentioned as a relevant band in the mid-80s with Black Sabbath influence.
Candlemass - Mentioned as a Swedish band playing doom metal.
Trouble - Mentioned as a band with doom elements.
Mötley Crüe - Mentioned for their early influential work and satanic imagery.
Discharge - Mentioned as a band that influenced thrash music with their heavy, assaultive sound.
Bad Brains - Mentioned as a band that took intensity and speed to a new level.
Venom - Mentioned as a significant influence on thrash and black metal, naming the genre with their album "Black Metal."

Podcasts & Audio

Tetragammaton - Mentioned as a podcast, website, and source of knowledge on various counterculture and esoteric topics.

Other Resources

Power chord - Mentioned as a fundamental element in heavy music, with "You Really Got Me" by The Kinks as an early example.
Psychedelic music - Mentioned as a genre that was moving in a heavy direction before Black Sabbath.
Heavy metal blues - Mentioned as a descriptor for a song by Cream.
Doom metal - Mentioned as a subgenre of metal characterized by a slow, heavy, and dark sound.
New Wave of British Heavy Metal (NWOBHM) - Mentioned as a movement in the late 70s/early 80s that began to strip out blues and incorporate new imagery.
BDSM imagery - Mentioned as an influence on the spike and leather aesthetic in metal.
Headbanging - Mentioned as a characteristic dance or physical reaction to heavy metal music.
Mosh pit - Mentioned as a dance that originated from hardcore and punk, later adopted in metal.
Punk rock - Mentioned as a genre that influenced and meshed with heavy metal, particularly in the late 70s.
Thrash metal - Mentioned as a genre that emerged from the fusion of punk intensity and metal riffs, with bands like Metallica and Slayer being key figures.
Guitar tapping - Mentioned as a guitar technique popularized by Eddie Van Halen.
Neo-classical guitar - Mentioned as a style that influenced heavy metal guitarists, moving away from blues roots.
Drum machines - Mentioned as a popular technology in the 80s that influenced the straight, heavy beat in metal.
Disco - Mentioned as a musical style popular in the 80s that shared a hypnotic, straight beat with metal, though not sonically similar.
Stoner metal - Mentioned as a subgenre that splintered off from bands like Iron Maiden and Judas Priest.
Underground metal - Mentioned as a scene characterized by independent labels and a punk rock aesthetic, contrasting with major label arena bands.
MTV rotation - Mentioned as a platform for glam and hair bands, with heavier music often played after midnight.
Satanic kfab - Mentioned as a theatrical element in metal, similar to kayfabe in wrestling, where the persona is presented as real.
Cartoon characters - Used as an analogy for the perceived larger-than-life personas of metal musicians.
Horror movie characters - Used to describe the imagery of Iron Maiden's mascot, Eddie.
Junt metal - Mentioned as a genre term used by younger metalheads, characterized by muted guitars and a percussive tone.
Compressed guitar tone - Mentioned as a characteristic of the heavy metal guitar sound.
Power metal - Mentioned as a potential genre descriptor for mid-80s metal that sounded like an escalation of previous styles.
Avant garde - Mentioned as a sphere of knowledge within Tetragammaton.
Sacred geometry - Mentioned as a sphere of knowledge within Tetragammaton.
Generative art - Mentioned as a sphere of knowledge within Tetragammaton.
The tarot - Mentioned as a sphere of knowledge within Tetragammaton.
Out of print music - Mentioned as a sphere of knowledge within Tetragammaton.
Biodynamics - Mentioned as a sphere of knowledge within Tetragammaton.
Graphic design - Mentioned as a sphere of knowledge within Tetragammaton.
Mythology and magic - Mentioned as a sphere of knowledge within Tetragammaton.
Obscure film - Mentioned as a sphere of knowledge within Tetragammaton.
Beach culture - Mentioned as a sphere of knowledge within Tetragammaton.
Esoteric lectures - Mentioned as a sphere of knowledge within Tetragammaton.